I've gotta drive from Memphis, TN to Atlanta, GA. For Coheed So Worth It! I broke down in Columbus once. It wasn't bad aside from the broken down part.
I've gotta drive from Memphis, TN to Atlanta, GA to see Coheed but its SOO worth it. I broke down in Columbus once. Wasn't that bad. True story.
Yet, no Cleveland date on the tour. The only date reasonably close is for Rock on the Range in Columbus where they won't get enough stage time and I've got to sell a kidney to spend the weekend when I just want to see C&C.... makes me sad.
This is Chris Lester. I would like to get in touch with Theo. I have a project for him.
Please have him call me at 216-469-4958 ASAP!!!
GREAT ALBUM! It’s Gretchen at her very finest! True Honest Rockin Country! It’s an album you’ll leave in your CD player/IPOD and never get tired of listening too! WELCOME BACK Gretchen we’ve missed you!
Buy this album for your collection!
Amazing producer, well put when you say: "the best producer you've never heard."
gelatinously somnambulant... nice
I knew officially that I would completely disagree with this review when I read, "Baby Birch ascends to a sexy climax"? Seriously?!? D: Did you even attempt to read the lyrics?
Is there still a Kent Guitar website now Geocities has gone? I get lots of enquiries at hagstrom.org.uk about Kent guitars as Hagstrom contracted a couple of models in the 60's.
I find your article interesting but not well researched. The guys who recorded Collette's album did so as a favor to a her. None of them were actually in a band with Colette. Dan and Mark produced and recorded her entire album (start to finish) in two weeks at Dan's home studio. They had only two weeks because Dan was moving out of state. It was the first project Dan had ever attempted as a recording engineer - it turned out pretty well given the time limitations and the fact that he was a novice. While it's certainly not perfect, it definitely served its purpose and helped Colette gain some notoriety. I think she even won a major songwriting contest based on these recordings. I'm surprised Colette would allow you to publish a review that discounts her friends' efforts to help her.
Diluted, yes maybe, but still a strong, kick your behind brew! (and even more standout if you compare to what it is out there these days)
It's okay to not like some of Allison's songs and I do respect your opinion on the songs you mentioned but there's something wrong with a review when it doesn't mention 'Holiday' and 'Trouble Is' - those songs (and 'Scars') are brilliant and distinctive standouts from her debut album. Trouble Is is a beautiful ballad that showcases Allison's vulnerablity, vocals and range the best. Holiday is this cocky and spunky rock song which reminds us of the Allison from AI (but with more edge). It's weird you left them out from your review
A good combination of covers, older material and a few unreleased tracks. When I heard "Wildfire", I couldn't help but think of "Roll Me Away". It has that distinctive Bill Payne (Little Feat) piano work. If you are a hard core Seger fan, this CD a must. Can't wait to hear Volumes 2 and so on.
The videos on http://www.blakroc.com are really well made and definitely bring the vision of this interesting concept to fruition. For I saw The Black Keys last night at Musica in their hometown of AKRON and they delivered SOLIDLY all night for a sold out crowd of screaming hometown fans.
Check out the vids for sure
i totally agree with sablespecter..i listened to a little rammstein back in high school when i was taking german classes, and didn't really keep up with them til now. my boyfriend brought home LIFAD and i fell in love all over again. the band sounds and works together as well as they ever did, and their sound has matured so much since the angst-ridden 'herzeleid' from back in the day, when i think 5 of the 6 men were going through divorces and breakups..over six albums, their sound has changed so much and always in a good way, but not necessarily for the better.
i love everything they've done, and i mean every song..till is an amazingly expressive and articulate poet, never mind his amazing singing voice. plus, he's ridiculous buff, haha. he's an artist of language, and while i can pretty much translate the lyrics for myself, if you look up the lyrics, you'll be surprised at how deceptive the music is in relation to the words. for example, the title track off the album 'reise, reise' is pretty militant-sounding and has huge explosive musicality and instrumentation, with till's signature growling vocals, but what you might not know is that it's essentially a wake-up call [literally--'reise' is low german sailor slang for 'wake up'] about the state of humanity, and the lyrics are effectively anti-violence. the song 'haifisch' [meaning 'shark'] off the new album might sound like a pounding angry german marching song to the insensitive ear, but the lyrics are a good-natured expression of solidarity between the band members amidst the very public existence they find themselves in, no matter what. just listen and stay open to the messages, and you'll find so much more than strange words and deceptive themes of s&m, other paraphilia and cannibalism, i promise.
The great thing about Rammstein is that if you give them a chance, you find there's a little something on there for everyone. You don't need to understand the lyrics to feel the intent, emotion, and mood of the songs, which are quite varied. No two songs on an album sound the same. I can understand a fair amount of the lyrics because of my passable Deutsch, but if it really bugs you to not know what's being sung, you can find translations here: http://herzeleid.com/en/lyrics
That's worth checking out even if you don't care what's being sung because it highlights the the slang and dual meanings commonly found in the songs. German is a very inventive language, and the band puts it to good use with playful double entendres quite often. (Check out the explantions for the lyrics of "Mann gegen Mann" for example). It's one of my favorite elements of their music.
This album was just released today to an 8.1 score at Pitchfork. Now, rest assured, I'm not a fan of the point system at P4K, and actually reject it on many levels. I do like that there's no particular number put on this post, Chris. I do know that the physical publication of Cleveland Scene gave this a 2.5 out of 4 possible stars, and it begs the question, "When did Cleveland embrace snobbery and where did we all learn to listen to music?" Bluntly, anyone with an ounce of musical knowledge could listen to this album and digest it's dripping influence and purposeful angular changes and stops. Chris, I enjoy your reviews typically, but you're way off on this one. It seems like you heard the album once and slapped this up on the site. On multiple levels, this album deserves an even higher score than it received at Pitchfork. Surely it's not an album to listen to once and review, and if that's what's happened here, it's a crying shame.
If this band "embraced a typical approach" it would be an all-out train wreck for their creativity. "Impressions of the Past," which isn't given a second look in this post, is roundly one of the most unique songs released in 2009 thus far, with a blast of sound from about 15 different eras and genres balled into one linear track. Research into the band suggests that this minimalist approach is required in the arrangement. Lack of sound is equivalent in importance to the sound itself. The abrupt stops. The changes. They're all on purpose and point to a near orchestral understanding of musical arrangement. Brad and Phil Cook, and Joe Westerlund are all music school grads, listening to records cooler than either you or I probably. The tracks that get slammed in this review, "Solid Ground" and "The Darkest Hour" are manifestations of this knowledge and send a damn chill down my spine when heard live.
On a cursory listen, sure, "The Fade" and "Kaufman's" are the moneymakers, but neither of those hit the meat of the record. Nowhere in this review does it hit the inspiration for the tracks (their deceased grandfather) and this is probably important to mention. Another wrinkle in this is the hinting that these three were forced to throw together their own band after Justin Vernon rolled out. This is entirely untrue and the suggestion is inappropriate.
To bring this home, I hope the readers don't get deterred here from this amazing record. Actually Megafaun and Bowerbirds played a killer show at Beachland just before BBirds trip to the Pitchfork Festival. Speaking of Bury the Square, they hadn't played "His Robe" in two years and based off of the request, walked out into the audience and performed it without microphones. Needing a place to crash for the night, both bands crashed on my floors, and truthfully I felt embarrassed that I didn't have cool enough records for them to throw on as we tossed a few back.
As they left my home, they said "Cleveland is a fucking blast and we'll be back here in a heartbeat. We love the scene you guys have going here." I sure hope they don't read this, because it's off by about ten yards from what the band intended. I know I'm a nasty sot in this reply, and please don't take it personally. I just had to say a few words in defense, and hopefully, some people get a chance to read it.
Cool record, great band
Another Stunning Interview From The Sounds
I Cant Believe I Get To See Em In Like 2 1/2 Weeks ^_^
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